Review by Elisa Caldarola
Festival Brazil is a big event running throughout the summer at the Southbank Centre in London. Brazilian artist, Ernesto Neto is one of the most iconic international contemporary visual artists working today. For the festival, he has created The Edges of The World, a multi-senatorial installation that occupies the entire upper floor of Hayward Gallery and branches out into the terraces. Part of the work is an inflatable pool that visitors can actually use (provided that they bring a swimsuit, are older than 8 and taller than 1.10 m), as well as a delicious tropical oasis.
Review by Elisa Caldarola
This summer, Modern Art Oxford hosts Time and Place, Howard Hodgkin’s newest exhibition, curated by Director Michael Stanley. It presents twenty-five abstract paintings realized over the last decade. Hodgkin’s is a long and distinguished career: his first solo-shows date back to the 1960s, he won the Turner Prize in 1989 and – having exhibited in some of the major contemporary art institutions – he is recognized as one of the living masters of abstraction. With this show he comes back to the place where in 1976 an important survey was first dedicated to his work (Forty-five paintings 1949-1975). Hodgkin’s paintings explore new directions and are new to the broad public: he is back in Oxford to take stock one more time.
Puffin by Design
Allen Lane (Penguin)
Puffin by Design is an exciting and colourful book, which celebrates the 70th anniversary of Puffin publications. Using the slogan “70 Years of Imagination”, this book certainly doesn’t disappoint. The book takes a chronological approach, and by showcasing this timeline, it takes you through the evolution of the iconic publisher.
I was one of the many who wondered if BALTIC could top their breathtaking spring exhibition by Jenny Holzer, and with Cornelia Parker’s Doubtful Sound, they continue their run of immersive and thought provoking shows.
Who says that art and fashion don’t mix? For me, I see a clear connection between the two worlds. Although, the politics and protocol of these worlds may differ, and words like “high” and “low” are gratuitously mentioned, I see a direct correlation. You may have read our feature on Rankin or Alex Box (the make-up artist), or even our feature on the new generation of fashion photographers (that fantastic cover with Raquel Zimmerman), and so I think the most intriguing aspect of the clash of these two words, ultimately is the debate which follows.
It’s here! At last – this year’s competition is more exciting than ever. With entries coming in from around the world, we are getting very energised.
I want to see your new work, read your ideas, gather inspiration and experience exactly what you are creating today and how this reflects, comments and debates with the topics of the day.
Salford and Manchester are certainly not the warmest of places to get naked, something that is made abundantly clear in the video work of Spencer Tunick’s (b. 1969) latest exhibition, Everyday People, now showing at The Lowry, Salford Quays. On a weekend in May, Tunick undertook to orchestrate his latest installation in locations across Salford and Manchester. With the help of a large number of brave volunteers, who pose naked, Tunick creates works that incorporate the human body into the landscape in a variety of intriguing ways.
Accessible, interactive and inclusive in ethos, Altered Images aims to stimulate engagement with the visual arts for the general public and particularly for people with disabilities. The idea that a visual art exhibition should be accessible to all is not a new one; most museums and galleries have an access programme that enables people with disabilities to experience artworks. However, selecting an entire exhibition with an emphasis on accessibility in a multi-dimensional way is relatively new in Ireland.
Whose Map is it? is the latest show to open at Iniva. Kicking off with a symposium on 2 June with delegates from around the world, this show is incredibly relevant on so many levels. Nine contemporary international artists question the underlying structures and hierarchies that inform traditional mapmaking. They provide individual insights that inscribe new, often omitted perspectives onto the map.
Father of My Children (Le Pere De Mes Enfants), written and directed by Mia Hanson-Love, communicates an outstanding portrayal of family drama based on the life story of troubled film producer Humbert Balsan, who committed suicide in 2005. Set in Paris, the film follows Gregoire Canvel (played by Louis-Do de Lencquesaing), who seems to have it all; he is a successful film producer, with a loving wife and three precious children.
We receive some fantastic art books through our doors at Aesthetica and we thought we’d share our views on some of the recent publications that have passed our way.
We Are Congo
Last week a comprehensive exhibition on Hermann Obrist (1862 – 1927) opened at the Henry Moore Institute, Leeds. Hermann Obrist: Art Nouveau Sculptor is the first UK exhibition of Obrist’s work and it showcases the range of his extraordinary output, bringing together two-dimensional drawings, photos, letters, source illustrations, embroidery and sculpture.
New Symphony, an exhibition of new works by four leading sculptors opened last week at the Simon Oldfield Gallery in Covent Garden. Artists Tim Ellis, Katie Cuddon, Sam Plagerson and Douglas White are known for their interest in and examination of our contemporary culture and the objects within it, which is a topic that you may have read something about in our April/May issue with the “Popular Culture and the Aesthetic Discourse” feature.
After a half hour discussion with Felix Vogel, curator of the 4th Bucharest Biennale Handlung: On Producing Possibilities, I quickly forget how old he is – probably a good thing considering he is only 23. Nevertheless, his curatorial theme and approach to the exhibition has been nothing short of impressive, and carries a weight of maturity lacking in curators who are much older. Rather than caging extremely well-chosen artist works in an overly-prescriptive theme that essentially directs the viewer, Vogel has taken the more flexible approach, hoping that the exhibition itself becomes a starting point that will independently evolve, rather than reach a conclusion.
We are unpacking ideas in this issue. It’s all down to the concept.
In art, we look at the mammoth scale of Jonathan Wateridge’s new show, Another Place, and his clever juxtaposition of reality and fantasy. Exposed: Voyeurism, Surveillance and the Camera opens at Tate Modern this summer. Spanning a variety of lens-based media, it offers an illuminating perspective on subjects both iconic and taboo. The Jerwood Contemporary Makers show examines the grey area between art and craft, presenting a conceptual exploration of making. While newcomer, Sean Raggett redefines contemporary portraiture through iconic image making.